[Shawn Miller]

[Tony West] “I remember doing a job for the Post Office about 15 years or so ago in my state, and they had these cameras set up on the lines zoomed in on the mail so that some people in a southern state that worked cheaper (as they tend to do down there) could read the zip codes and type in the info.

They didn’t leave the country, and I don’t know how much they saved by doing it. Totally different industry, but it just kind of reminds me of that.”

Wow, I didn’t know about that. I think that’s the new reality for nearly every industry though. Jobs that can be done remotely, will probably be sent to the least expensive workers with the most acceptable output.

Shawn

[Shawn Miller]

[Oliver Peters] “”Out of interest does PP not care at all what codec you put in the Timeline or does it perform better if stuff is transcoded to Pro Res?”

The PPro timeline codec selection only affects the render file format for previews. In general, I’ve found that PPro likes media that is ProRes, MPEG2, AVC-Intra and Avid DNxHD.”

How is Cineform on the Mac side? I’ve found that it performs about the same as ProRes or DNxHD on my Windows machines.

EDIT: On the Premiere Pro timeline, of course.

Shawn

[Shawn Miller]

[Bret Williams] “First time I saw the magnetic timeline it reminded me of the Casablanca. How do I even remember the name of that monstrosity?”

PTSD? 🙂

Shawn

[Shawn Miller]

[James Culbertson] “Editors will continue to tell stories just as they always have… some better than others. Which editing app they use isn’t entirely irrelevant, but is 99% personal preference at this point. Everything else is just sound and fury.”

Maybe, but Bill did say…

[Bill Davis] …Hit me with the top few aspects of Premiere Pro that have changed edit workflow for you in the last 3 years. I’m ready to learn about how they have altered their approach to re-imagine how editing should be improved for the current, almost exclusively file-based era. I’m ready to learn.”

Shawn

[Shawn Miller]

[Tony West] “[Herb Sevush] “Adobe Anywhere – This is one of the places editing is going. Virtual teams. I’m supervising my current team from an office 60 miles north of NYC.”

Yes, this is where I see editing going also, but not to NY, to some country where the rate is a lot lower.

“We don’t need you anymore. We got (fill in the blank) over there in India cutting for a third.”

Too cynical? : ))”

Maybe not, racing to the bottom for the least expensive labor seems to be the rage in every industry. Luckily, the case can still be made that differences in infrastructure and timezones can make sourcing talent “locally” more economical than sending work halfway around the world. Then again, there are a lot of really talented folks south of the border who don’t have high living expenses either. 🙂

Shawn

[Shawn Miller]

[Neil Goodman] “They were also the first to have edit anything, in any timeline natively which explicitly helped file based workflows.”

I think (then) Sonic Founry’s Vegas might deserve that title. It was the first NLE that I know of, which could natively play any audio, video or image format on the timeline that was supported by Windows.

Shawn

[Shawn Miller]

[Oliver Peters] “In fact, one of the clients I routinely edit for (a broadcast group), went to PC and Adobe because of their dealings with Apple.”

I know of two agencies in town that did the same thing. They were due for hardware and software refreshes and they went PC/Avid or PC/Adobe instead of Apple/FCPX. Anecdotally, I personally know over a dozen motion graphics and VFX artists who switched from Apple to other PC integrators because they couldn’t get the hardware they wanted from Apple.

Shawn

[Shawn Miller]

[Bill Davis] “Well then please enlighten me.

To get this magical image sequence capability all i Have to do is switch to AVID or maybe Premiere Pro?

So how do I recapture my $300 loss this year and the ongoing money I lose every year from now on since I already have software perfectly capable of the same basic function?

Seems kinda like pissing money away without much of any real return.”

I’m sorry, I don’t follow… I don’t think anyone suggested switching NLEs to get direct image sequence import. If it’s not an important feature for you, why are you fighting so hard keep up the conversation about it? Are you offended that I asked the question?

Shawn

[Shawn Miller]

[Bill Davis] “[Shawn Miller] “For those of us who work with raw formats from the Blackmagic or Digital Bolex cameras, image sequence import is very valuable. It’s also useful for cutting animation sequences before they go off to compositing. ”

Shawn,

I never once said it’s not valuable. I said that X does it just fine. Folks are arguing that it’s not AS easy in X as it is in other programs. Fine.Let’s stipulate that It’s not as easy. My point is so what? If it was not as easy AND something editors commonly did 50 times an hour – I’d be interested. But it’s something I do once in a while. So I’m not.”

So… your point is that you don’t use image sequences very often, so there’s no point in being able to import and use them like any other media type?

[Bill Davis] “Is this really worth the time we’ve already spent discussing it. Or are we working really hard to argue about something not really worth arguing about.”

I don’t think there was an argument until you jumped in. 🙂

Shawn

[Shawn Miller]

[Bill Davis] ” How often do you guys import image strings? For me, it’s a special effect, not a regular part of my timeline editing.”

For those of us who work with raw formats from the Blackmagic or Digital Bolex cameras, image sequence import is very valuable. It’s also useful for cutting animation sequences before they go off to compositing.

Shawn